The Velvet Underground - IV (upgrade)

The Velvet Underground – IV

(soniclovenoize reconstruction)

December 2017 Upgrade

Side A:

1.  We’re Gonna Have a Real Good Time Together

2.  One of These Days

3.  Andy’s Chest

4.  Lisa Says

5.  Ferryboat Bill

6.  Foggy Notion

Side B:

7.  I Can’t Stand It

8.  Coney Island Steeplechase

9.  I’m Sticking With You

10.  She’s My Best Friend

11.  Ocean

12.  Ride Into The Sun

This is an upgrade to my reconstruction of the fabled “lost fourth album” by The Velvet Underground, recorded in-between 1969’s The Velvet Underground and 1970’s Loaded.  With the master tapes discovered in the 1980s and remixed, the material originally saw the light of day on compilation albums VU and Another View.  The original 1969 mixes, as well as newer 2014 remixes that emulated the sound of those original 1969 mixes, were finally released on the 45th anniversary The Velvet Underground super delux boxset.  Sundazed also released their own reconstruction of this “lost fourth album” as a limited edition vinyl entitled 1969, but various pressings used either the 1969, 1985 or 2014 mixes.  My reconstruction uses only the vintage 1969 or “dry” 2014 mixes to present a cohesive, completed album and attempts to be true to what an actual fourth Velvet Underground might have been like in 1969. 

Upgrades to this December 2017 edition are:

• Original 1969 mixes of “Foggy Notion”, “I’m Sticking With You”, “Andy’s Chest” and “She’s My Best Friend” are used, replacing the 1985 mixes. 
• New 2014 remixes of “One of These Days”, “Lisa Says”, “Coney Island Steeplechase”, “I Can’t Stand It” and “We’re Gonna Have a Real Good Time Together” are used, replacing the 1985 mixes.
• “Ocean” is sourced from The Velvet Underground super delux, an upgrade from the What Goes On source.
• The original 1969 mix of “Ferryboat Bill” is added to the reconstruction, after much protest from blog followers! 
• “Ride Into The Sun” is speed-corrected and volume-adjusted to match the sound of the new sources.

After the proto-shoegaze of 1967’s The Velvet Underground & Nico and the groundbreaking noise-rock of 1968’s White Light/White Heat, we have a completely different Velvet Underground by 1969.  After recording an album intended to be the polar opposite of White Light/White Heat with John Cale’s more musically apt (albeit less experimental) replacement Doug Yule, the band enjoyed critical success with their The Velvet Underground album, even though commercial success still eluded them.  Although the band was tired of MGM Records—or perhaps reading the writing on the wall and anticipated a drop from the label due to a lack of commercial potential—The Velvets continued recording a follow-up to The Velvet Underground while touring throughout 1969, biding their time until their management found a better label. 

These recording sessions, based at the Record Plant in New York, began on May 6th with The Velvet Underground tracking the jaunty “Coney Island Steeplechase”, as well as a rocker heavily featured on their current tour and effectively becoming the most-well known originals of this batch, “Foggy Notion”.  The band returned to the studio on May 13th and tracked a song Lou Reed himself would re-record for his seminal 1972 Transformer album “Andy’s Chest”, as well as the charming Mo Tucker-sung “I’m Sticking With You” which would be tried again but ultimately scrapped for the Loaded sessions.  The next day the Doug Yule-sung “She’s My Best Friend” was recorded, a song Reed would himself rerecord for his 1976 Coney Island Baby album.  On May 20th the band recorded another live staple that would be revisited for Lou Reed’s 1972 solo album Lou Reed, “I Can’t Stand It”.  The Velvets returned to the studio on June 19th & 20th to track an additional three songs: the bizarre “Ferryboat Bill”; another road-tested epic “Ocean” again later rerecorded for both Loaded and Lou Reed; and a rough performance of “Rock and Roll”, a song later re-recorded as the centerpiece for Loaded.  At this two-day session they also made mixes of seven of the nine songs tracked thus far and compiled an acetate that contained, in order: “I’m Sticking With You”, “Foggy Notion”, “Ferryboat Bill”, “Andy’s Chest”, “Ocean”, “Rock and Roll” and “She’s My Best Friend”.

With half the album in the can, The Velvets took the summer off to continue touring and returned to The Record Plant on September 5th for more work on the project.  The exquisite “Ride Into The Sun” was tracked, a song too later rerecorded but scrapped for Loaded and finally appearing on Lou Reed.   While a multi-layered instrumental version exists, the multitracks containing the vocal overdubs seems to have been lost, and unfortunately only exists as an acetate.  The band returned to the studio on September 23rd to cut the bar-room rollick “One of These Days” and the aimless instrumental jam “I’m Gonna Move Right In” was tracked on September 27th.  Live staple “We’re Gonna Have a Real Good Time Together” was recorded three days later and finally the somber “Lisa Says” recorded on October 1st.  In the end, fourteen new songs were recorded between May and October—most of which were excellent, studio captures of this incarnation of The Velvet Underground who had become a live-performing machine throughout 1969.   But by the end of the year, MGM had dropped The Velvet Underground from their roster of artists and the mastertapes were filed away in a vault, forgotten and never to be heard again in that decade or the next. 

It should be noted that the actual band members seem to have differing opinions on what the intent of these recordings was.  In interviews and personal correspondence, bandleader Lou Reed expressed that the 1969 Record Plant recordings were meant for their fourth album—specifically noting that “We’re Gonna Have a Real Good Time Together” was meant to be the lead single, a tongue-in-cheek ode to mindless dance music.  Mo Tucker sides with Reed, stating she was under the impression they were recording a proper fourth album (although she confusingly claims that The Record Plant recordings were not it).  In contrast, Doug Yule claimed they were simply professionally-recorded demos for the album that would eventually be Loaded.  Sterling Morrison offers a completely different explanation: the recordings were simply “busy work”, a put-on so that MGM would not suspect the band was shopping for a new contract, and that these recordings were never meant to see the light of day.   Who are we to believe, if we believe any of this at all? 

Regardless, the multitracks of the 1969 Record Plant sessions (along with a few unreleased John Cale-era tracks from 1968) were accidentally found in the vaults in the mid 1980s, remixed and released as the compilation album VU in 1985.  Perfectly timed during a revival of interest in the band, the album was a hit; it was probably no coincidence that VU featured rather modern mixing techniques (such as gated reverb on the drums) wowing audiences that a band from the 60s could have such a modern sound!  With the remainder of the tracks released on 1986’s Another View, these mixes circulated on compilation albums for nearly thirty years.  With fans complaining of the anachronistic mixing of the Record Plant sessions, the vintage 1969 mixes were finally given an official release in 2014 on the 45^th anniversary super delux boxset of The Velvet Underground.  Also included were freshly-made remixes of the remaining seven songs, created to match the sound of the vintage 1969 mixes.  By this point in time, Sterling and Yule’s view of these recordings were ignored and the sessions were touted as “the great lost fourth Velvet Underground album,” be it accurate or not. 

My reconstruction attempts to use the best of these 1969 Record Plant Sessions and present a finished, cohesive album, as could have been released by the end of 1969 as the fourth Velvet Underground album.  We will be using all original 1969 mixes or the new 2014 mixes found on The Velvet Underground super delux boxset.  All introductory studio chatter is edited out as well as some outros faded out, as per what the final tracks probably would have been released as.  My reconstruction drops “I’m Gonna Move Right In” for the sake of conciseness and drops “Rock and Roll” for the sake of redundancy.  We will also substitute the instrumental “Ride Into The Sun” with the vocal acetate version found on the What Goes On boxset, speed corrected and volume-adjusted to match the previous eleven songs.  The resultant album is a strong collection of twelve tracks that amount to just over 40 minutes, the perfect Velvet Underground album.  While succumbing to a more polished sound, we also essentially have a more energetic version of The Velvet Underground, bridging the gap between that and Loaded.  Also, we can fully appreciate the underrated powerhouse of Doug Yule, a forgotten hero who kept the band together without John Cale.  A document of a short-lived era of the band usually only heard on live recording like The Quine Tapes, IV are the waves to ride us into the sun.  Let's have a real good time together.  

Sources Used:

The Velvet Underground (2014 CD boxset)

What Goes On (1993 CD boxset)

flac --> wav --> editing in SONAR & Goldwave --> flac encoding via TLH lv8

*md5, artwork and tracknotes included

Nirvana - Sheep

Nirvana – Sheep

(soniclovenoize reconstruction)

Side A:
1.  Dive
2.  Lithium
3.  Imodium
4.  Sliver
5.  Been A Son
6.  Polly

Side B:
7.  In Bloom
8.  Stain
9.  Pay To Play
10.  Sappy
11.  Here She Comes Now


This was a blog-follower request from last year.  It was a project that was very close to my heart and I thought it would be a fun reconstruction to partake in.  This is a reconstruction of the unreleased 1990 Nirvana album Sheep, which is essentially the precursor to what would eventually be released as Nevermind in 1991.  It is designed to emulate what Nirvana’s second album would have sounded like in 1990 as an indie release, rather than the major-label blockbuster that Nevermind actually became.  While all this material can easily be found on modern remasters (notably the 20 Anniversary edition of Nevermind), alternate sources were utilized to avoid the highly compressed and brickwalled masters from that release. 

By 1990, Nirvana had relentlessly toured in support of their debut album, Bleach.  Their reputation for a staggering live show as well as songs that seemed to speak to their audience had garnished the band attention inasmuch as that many hailed it as a modern, Seattle-based equivalent of Beatlemania.  Enlightened with a slew of new songs that were more pop-influenced than the stereotype grunge found on their debut album, the trio began recording with producer Butch Vig in April at his own recording studio in Madison, WI.  The sessions were fruitful, with eight songs completed for a tentative album for Sub-Pop, in which Kurt Cobain desired to be dubbed Sheep, allegedly a reference to the target-audience of the album itself.  The band was at first pleased with the results and 2/3rds of their sophomore album was in the can for a release date later that year.  Nirvana intended to book a follow-up session with Vig at Smart Studios to finish the album….  or so they thought.  Two important events prevented the Sheep album from happening, which allowed it to become Nevermind instead.

The first event was the band’s discontent with drummer Chad Channing and his dismissal from Nirvana.  The truth was that the core of the band—founders Kurt Cobain and Krist Novoselic—had simply settled for Channing in 1988 after being unable to find a drummer that lived up to their first choice: Dale Crover of The Melvins.  Crover was a powerful hitter who had assisted Nirvana to record their first studio demo which secured their contract with Sub-Pop Records.  Chad was a much lighter hitter and seemed to embody the “hippy aesthetic”, which was contrary to Kurt and Krist’s “punk aesthetic”.  Cobain himself was a competent drummer and often complained that Chad was not performing up to Cobain’s specifications.  This often resulted in on-stage hostility, in which Cobain would vent his frustration at the drummer by literally plummeting himself at Chad at the conclusion of their sets, crashing the drumkit to bits.  Of course this became a fan-favorite stage-antic, and the tradition carried on for the remainder of the band’s career, even without Chad; but the truth was that it originated with Kurt’s “drummer frustrations”.  After the Smart Sessions, Chad was fired from Nirvana and the hunt for a new drummer resumed.  The band eventually stumbled upon prodigical Dave Grohl—the best alternative to Dale Crover—and the rest was history.  But with an infinitely more powerful drummer on-hand, the eight songs recorded earlier in the year would clearly be unusable for Nirvana’s second album.  It needed to be re-recorded.

The second factor of Sheep’s death was Nirvana’s dissatisfaction with Sub-Pop Records.  Despite a European tour as well as local-celebrity status, the label did not seem to quite meet Nirvana's expectations, as Sub-Pop could not meet the market demands for the album.  Fan-feedback was consistent: fans simply could not find their album in the stores.  What was Sub-Pop even doing?  Revenues from one album generally went on to fund the label’s next project; was there really room for Nirvana?  Was it right that Cobain and Grohl, now roommates, would live in squalor while Sub-Pop reaped their benefits?  Nirvana’s only hope to progress was to sign to a major label.  Hence the Smart Sessions recordings—funded by Sub-Pop for a tentative album—were relegated to a demo used to shop for a major label deal.   The sophomore Nirvana album would have to be re-recorded for a bigger label with a bigger budget, with their better drummer behind his kit.  Fate would prove to be on Nirvana’s side, as that is exactly what happened: Nirvana eventually signed to Geffin/DGC Records, who paid the bill to rerecord the Smart material plus more (notably the newly-written “Smells Like Teen Spirit” and “Come As You are”) at a million dollar studio. 

This reconstruction attempts to erase both these factors: what if Nirvana were content with both Chad Channing as a drummer and Sub-Pop as a label, and Sheep would have been their second album proper?  How would we reconstruct that album?  Luckily for us, Cobain left an abundance of clues as to what the album's design and tracklist was to be, thanks to many sketches and tentative tracklists which were published in his Journals; unluckily for us, they are all drastically different, including songs that were never recorded with Chad Channing.  While all centering around the material recorded at Smart Studios—which creates the meat of this reconstruction—they are all in different orders with other random songs from this era mixed in. 

On page 89 of Kurt Cobain’s Journals, we have a tentative Sheep tracklist of: Imodium / Lithium / Dive / Polly / Sappy / Token Eastern Song / Verse Chorus Verse / In Bloom / Pay To Play / Dumb / Been A Son.  On page 116, we have a tracklist of: In Bloom / Imodium / Pay To Play / Territorial Pissings / Lithium / Sliver / Verse Chorus Verse / Sappy / Polly / Something In The Way.  And finally on 123 we have: In Bloom / Lithium / Polly / Territorial Pissings / Imodium / Pay To Play / Sliver / Been A Son / Sappy / Verse Chorus Verse / Something In The Way.  Clearly, Cobain could not make up his mind.  I have created test sequences of all three, and they all sound poor with no flow.  To make matters worse, we should remind ourselves that the final tracklist of the classic Nevermind album—an album with notably excellent cohesion and flow—was compiled completely arbitrarily, on the spot, by Kurt Cobain.  Apparently, he was face-to-face with a record exec who demanded a final tracklist in order to release the album, only for Kurt to hesitantly rattle off the track order off the top of his head!  The truth is that if they had asked Cobain a day later or sooner and had he been in a different mood, the running order of Nevermind could have been very different! 

So we know that the core of our reconstruction would be all eight songs recorded during the Smart Session in April 1990, which include: “Dive”, “Imodium”, “Here She Comes Now”, “In Bloom”, “Lithium”, “Pay To Play”, “Polly” and “Sappy”.  Would all eight of these songs actually have found their way onto Sheep?  Most likely not; for one, “Here She Comes Now” was specifically recorded for a Velvet Underground tribute album, never meant for album inclusion.  But because we are, for these purposes, only limiting ourselves to pre-Dave Grohl recordings, we are forced to use the entirety of the Smart Sessions on our Sheep reconstruction.  This is not entirely implausible as we have the precedent set with the cover of Shocking Blue’s “Love Buzz” on Nirvana’s debut Bleach.  Who’s to say they wouldn’t have included a cover on Sheep as well? 

Since eight songs are not enough for an album, we’ll need more.  “Sliver” was featured on two of the three tentative tracklists so we can use it, although it features Mudhoney drummer Dan Peters, temporarily filling-in Chad’s shoes.  “Been A Son” was also featured on two of the three tentative tracklists so we will use the recording found on the Blew EP, dating from September 1989, produced by Steve Fisk.  Although “Token Eastern Song” was also recorded during the Fisk Sessions and is featured on one of the three tracklists, the song honestly sounds as if it was born in a junkyard; instead we will use the superior track “Stain”, recorded during the same Fisk Sessions and released along with “Been A Son.”  Noting that “Dumb”, “Verses Chorus Verse”, “Territorial Pissings” and “Something In The Way” were all never recorded with Chad Channing and thus excluded, we are left with an 11-song set that features one cover tune, all amounting to a minute or two shy of 40 minutes—just like Bleach!  This is all too perfect for its supposed kindred kin Sheep. 

The actual track order of these 11 songs is not based on Cobain’s erratic and indecisive suggestions, but my own instincts and preference.  The album begins much like Bleach, with a groovy bass riff that drives a grungy rocker: “Dive”.  This is the original master taken from the 1990 Sub-Pop CD single pressing.  Following is the Smart Sessions version of “Lithium”; although better mastering can be found on bootlegs, the modern remix found on the Nevermind 20th Anniversary is unfortunately superior in soundquality, and is used here.  Next is the 1990 live standard “Imodium”, this less-brickwalled master taken from the rare Nightly Nirvana promo CD.  Next is the original studio version of “Been A Son”, taken from the first CD pressing of the Blew EP, with the album's side A closing with “Polly”, taken from the Nevermind 20th Anniversary box set.  Side B begins with “In Bloom”, sourced from an audio rip of the Sub-Pop video, found on the With The Lights Out DVD, the best source to avoid the brickwalled mastering found on the Nevermind 20th Anniversary box.  The original mastering of “Stain” from the CD pressing of Blew is next, followed by “Pay To Play” from the DGC Rarities compilation album.  The Nevermind 20th Anniversary remix of “Sappy” is unfortunately clearer than the best bootleg sources, so the brickwall mastering will have to be tolerated.  But the album is luckily concluded with the superior original mix of “Here She Comes Now” from the Heaven and Hell compilation, as well as a surprise after a minute of silence... 

How does Sheep compare with Nevermind?  Percussion-wise, it’s obviously weaker; Dave Grohl is one of the best drummers of our time, and the comparatively wimpy Chad Channing is no match for him.  Just compare “Pay To Play” here to Nevermind’s “Stay Away” to see exactly what Grohl added to Nirvana.  But on the other hand, the production of Sheep is much less slick, if that is your gripe with Nevermind, and even though Sheep features more pop-song structures and emphasizes Cobain’s excellent sense of melody, it is still very “punk" sounding and comparable to Bleach’s aesthetic.  We can’t say if Sheep is better or worse than Nevermind, but obviously the slicker production and intense drumming surely helped propel Nirvana into super-stardom, and things would have panned out quite differently for Nirvana had Sheep been released instead.  Without any super-stardom repercussions for Cobain to resent and ultimately attempt to "solve", this ‘album that never was’ opens our imaginations to a ‘life that never was’…  So in this sense, maybe Sheep was the album that should have been all along?

 

Sources used:
Nirvana - Blew EP (original CD master, Sub-Pop1989)
Nirvana - Sliver single (original CD master, Sub-Pop 1990)
Nirvana - Sliver single (original vinyl rip, Sub-Pop 1990)
Nirvana - Nevermind (20th Anniversary CD box set, Geffin 2011)
Nirvana - Nightly Nirvana (promo CD, Geffin 2004)
Nirvana  - With The Lights Out (DVD audio rip, Geffin 2004)
Various artists- DGC Rarities vol 1 (CD, DGC 1994)
Various artists - Heaven and Hell (CD, Communion 1990)

flac --> wav --> editing in Audacity & Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included

The Velvet Underground - IV

The Velvet Underground – IV

(soniclovenoize reconstruction)

Side A:

1.  We’re Gonna Have A Real Good Time Together

2.  One Of These Days

3.  Andy’s Chest

4.  Lisa Says

5.  Foggy Notion

Side B:

6.  I Can’t Stand It

7.  Coney Island Steeplechase

8.  I’m Sticking With You

9.  She’s My Best Friend

10.  Ocean

11.  Ride Into The Sun

As a memorial to the death of Lou Reed today, I thought I’d rush this mix and post it immediately.  This is a reconstruction of the fabled ‘lost fourth album’ by The Velvet Underground, recorded in-between 1969’s The Velvet Underground and 1970’s Loaded.  Although much of this material has been released as the 1985 compilation album VU, the label made no attempt to reproduce that lost fourth album.  In contrast to VU, this reconstruction attempts to be true to what the actual fourth Velvet Underground might have been like.  I also utilized alternate sources of the songs from those contained on VU in order to include the longest edits of the songs as well as the best mastering available. 

By 1969, we have a completely different Velvet Underground.  After recording an album intended to be the polar opposite of White Light/White Heat with John Cale’s more musically apt (albeit less experimental) replacement Doug Yule, the band enjoyed critical success with their The Velvet Underground album, even though commercial success still eluded them.  Being tired of MGM Records—or perhaps reading the writing on the wall and anticipating a drop from the label due to a lack of commercial potential—the band continued recording a follow-up to The Velvet Underground while touring throughout 1969, biding their time until their management found a better label.  This follow-up, once complete, was indefinitely shelved by MGM as The Velvet Underground was no longer on their roster anyways.   It remained unheard until the tapes were accidentally found and released as the 1985 and 1986 compilation albums VU and Another View. 

Recorded at The Record Plant from May to October 1969, the actual band members have differing opinions on what the intent of these recordings was.  In interviews, bandleader Lou Reed expressed that the 1969 Record Plant recordings were meant for their fourth album—specifically noting that “We’re Gonna Have A Real Good Time Together” was meant as it’s ironic lead single.  Mo Tucker sides with Reed, in that she was under the impression they were recording a proper forth album, although she confusingly claims that The Record Plant recordings found on VU and Another View were not it.  Doug Yule however claimed they were simply professionally-recorded demos for the album that would eventually be Loaded.  Sterling Morrison offers a completely different explanation: that the recordings were simply “busy work”, a put-on so that MGM would not suspect the band as wanting out of their contract, and that these recordings were never even meant to see the light of day.   Who are we to believe, if we believe any of this at all? 

For the purposes of this reconstruction we will assume Reed and Tucker to be correct, and collect the Record Plant sessions into this album they were purportedly recording.  We will also need to assume that Tucker is mistaken, and that The Record Plant sessions were indeed the lost album; 40 years later, what else possibly could it be?  Had they recorded an undocumented album’s worth of material that somehow escaped Velvet Underground historians for decades?  Unlikely… 

While we don’t know what exactly would have been on the “lost forth album”, we do have fourteen finished songs, recorded at a state-of-the-art recording studio from the exact same time period in question.  Seems more than a coincidence!  While the 1985 album VU also includes the unreleased single “Stephanie Says” and “Temptation Inside Your Heart”, we must resist the temptation inside our hearts (no matter what Stephanie says) to include these two songs as they were most likely not a part of this project.  Of the fourteen tracks recorded in 1969, we will exclude the early version of “Rock and Roll”, since it later appears on Loaded; in contrast, although both “Ocean” and “I’m Sticking With You” were re-recorded for Loaded, they did not make that final cut and are thus free-game.  With thirteen songs remaining, I simply dropped the two weakest tracks—the unnecessary filler “Ferryboat Bill” and the long and uninteresting “I’m Gonna Move Right In”.  The result is eleven solid tracks that run nearly 40 minutes: the typical format for a Velvet Underground album! 

Side A begins with Reed’s idea of an ironic and intentionally-inane single designed specifically to ‘give FM radio what it wants’, “We’re Gonna Have A Real Good Time Together”.  Although Reed later re-recorded this unreleased song for his 1978 solo album Street Hassle, this is the original Velvet Underground version taken from Another View.  Following is the barroom snarl of “One of These Days”; this is the longer version found on the What Goes On boxset, that runs about five seconds longer than the typical VU version.  “Andy Chest”, a song Reed re-recorded for is classic 1972 Transformer album, follows and is taken from the CD pressing of VU.  “Lisa Says” follows, a song Lou re-recorded for his first solo album; it is taken from the Peel Slowly and See boxset, which runs three seconds longer than the typical VU version.  Concluding Side A is my own edit of “Foggy Notion”, the first of two necessary ‘epic’ songs on a Velvet Underground album.  This reconstruction attempts to make the longest possible complete version by using the guitar intro from the vinyl pressing of VU and the longer-fade mix found on the What Goes On boxset.  This “Foggy Notion” is now as long and complete as possible, clocking in at 7:00 as opposed to the 6:45 version on VU.

Side B starts with a song Reed again re-recorded for his first solo album in 1972, “I Can’t Stand It”, here using the best master found on What Goes On.  After “Coney Island Steeplechase” from Another View, the longest version of “I’m Sticking With You” is taken from Peel Slowly and See, in which the final chord of the song is more articulated.  A song re-recorded by Reed for his 1976 solo album Coney Island Baby, “She’s My Best Friend” is the long version taken from the promo cassette pressing of VU which runs 19 seconds longer.  The second necessary epic of the album, we have the superior master of another song re-recorded for Reed’s first solo album: “Ocean”, which is taken from What Goes On.  The album concludes with a serene What Goes On version of “Ride Into The Sun” that actually features vocals, unlike the common Another View version.  While they were clearly recorded at the same 1969 studio session (mislabeled on the What Goes On liner notes), this version is unfortunately sourced from an old acetate rather than the remixed mastertapes.  The result is that, while definitely listenable and certainly enjoyable, “Ride Into The Sun” has a very obvious lower soundquality than the rest of the album.  But is that really a problem?  After all, we are talking about The Velvet Underground here!  This acetate sounds as good as half of the songs on White Light/White Heat!  This rougher acetate version seemed a perfect fit to conclude the album, not to mention it's one of the best recordings the band ever made.

The resulting album reconstruction—which here I simply titled IV as it would have been The Velvet Underground’s fourth album—lies somewhere between the band-oriented garage-rock of White Light/White Heat and the serene pop sensibilities of The Velvet Underground.  Without any pretense at all ("Are we even making an album right now?  Oh well..."), it is a very clear recording of the band playing directly, something they needed at this point of their career, although no one actually did hear it at this point in their career.  But let's not fool ourselves; if they had, I doubt it would have made much of a difference anyways.  The Velvet Underground's fate was always sealed to be ahead of their time.  But now that that time has passed, we can appreciate the simple beauty of a very honest Velvet Underground album previously lost, as we celebrate Lou Reed’s ride into the sun. 

Sources Used:

Another View (1986 CD)

Peel Slowly and See (1995 CD box set)

The Ultimate Stereo Album (bootleg CD box set, 1996 Nothing Songs Limited)

VU (1985 original CD pressing)

VU (1985 vinyl rip by Kel Bazar)

What Goes On (1993 CD boxset)

flac --> wav --> editing in SONAR, Audacity & Goldwave --> flac encoding via TLH lv8

*md5, artwork and tracknotes included